. Antonio Allegri da Correggio, his life, his friends, and his time. Paolo, he reproducedcompositions by Raphael, Francia, Costa, and others, with very slightvariations, and in the chapel of St. Catherine he imitated Pinturicchio. The Parma Gallerypossesses a large copyof Leonardos LastSupper by him. Hesought inspirationfrom many sources,endeavouring, withall possible zeal andgood-will, to assimil-ate the new discover-ies of art, and keepin touch with thespirit of the times. Yet, although theseartists and others ofless importance didall in their power tomaintain the dignityof Parma, the citywa
. Antonio Allegri da Correggio, his life, his friends, and his time. Paolo, he reproducedcompositions by Raphael, Francia, Costa, and others, with very slightvariations, and in the chapel of St. Catherine he imitated Pinturicchio. The Parma Gallerypossesses a large copyof Leonardos LastSupper by him. Hesought inspirationfrom many sources,endeavouring, withall possible zeal andgood-will, to assimil-ate the new discover-ies of art, and keepin touch with thespirit of the times. Yet, although theseartists and others ofless importance didall in their power tomaintain the dignityof Parma, the citywas dissatisfied. Hersense of humiliationwas keen when shesaw herself reduced tothe practice of formsalready by the consciousness of her mediocre position in this respect,she had an ardent desire for a loftier artistic ideal, and longed to findherself on the same level as the neighbouring cities, Bologna, Ferrara,and Mantua. Parmas attitude at the beginning of the sixteenth centurywas one of appeal and invocation. Eager for some new development,. VIRGIN ENTHRONED, BY CASELLI-TEMPERELLI. Formerly in the Consorzio at Parma. ART IN PARMA 149 she stretched out inviting hands, summoning artists within her wallsor demanding their works. Francia and Gian Battista Cima re-sponded to her call from Bologna and Venice respectively, bringingher master-pieces of grace and beauty. Cesare da Reggio and Fran-cesco da Cotignola also answered the summons in person ; but the twoformer returned at once to their own cities and workshops, and thetwo latter she herself had no desire to keep, finding them little superiorto her own masters. A brief visit of Leonardos is recorded in1514, but henever workedin the city,and historians,Jansen andM i 1 a n e s iamong thenumber, aremistaken insupposingSodoma tohave beenthere in is great-ly to the creditof Parma thather efforts towin an hon-ourable place for herself in the history of the Renaissance emanated entirelyfrom her citizens
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